We Are the Music-Makers: SATB Choral Octavo
Words by Arthur William Edgar O'Shaughnessy, music and additional words by Andy Beck
Item: 00-PO-0003185
Minimum order quantity: 20 copies
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Description
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About the Composer: Andy Beck

Andy Beck directs choral publications at Alfred Music and has composed and arranged more than 450 choral works now in active use by singers across the globe. His pedagogical resources, including Sing at First Sight, Foundations in Choral Sight Singing, and Vocalize! 45 Vocal Warm-Ups That Teach Technique, have shaped how many choirs approach musicianship and vocal development.
Beyond his work at Alfred, Beck maintains an active presence as a guest conductor, adjudicator, and clinician for music educators nationwide. He holds degrees in Music Education from both Ithaca College and Northwest Missouri State University, sings tenor in the North Carolina Master Chorale Chamber Choir, and brings his commitment to choral artistry and music literacy to every commission and conductorial engagement.
Why we love this
Beck's setting transforms O'Shaughnessy's poem into a concert statement that feels both contemporary and timeless. The flanking fanfare gestures give this piece immediate presence and purpose, making it an excellent opener that commands attention without overshadowing what follows in your program.
What to expect
Majestic opening gives way to soaring, heartfelt melody supported by warm harmonies. The piece carries dignity and aspiration, anchored by Beck's responsive piano writing that propels the voices forward without demanding virtuosic agility.
Who it's for
High school and college choirs seeking contemporary repertoire with substance and accessibility. Directors who program festival and concert selections will find this a secure choice for choirs with solid fundamentals and willingness to engage with lush four-part writing.
How to get the most out of it
- Balance the piano accompaniment to enhance rather than cover the choral lines; the "dynamic" support Beck provides works best when it lives underneath the voices, not alongside them.
- Shape the soaring melodies with consistent breath support and line continuity; resist the urge to break phrases at every punctuation mark.
- Approach the opening and closing fanfare sections with unified articulation and crisp rhythmic clarity to establish the piece's architectural frame.
- Let the rich harmonies speak through careful voicing balance; give yourself rehearsal time to lock the inner voices before focusing on the soprano line.
How to use it
Program this as a concert opener to establish artistic intention and capture immediate listener engagement. Its contemporary character and festival-ready polish also make it strong for competitive performance contexts or paired with contrasting works to demonstrate your choir's range.
Skills your students will build
- Singing sustained, connected phrasing across larger melodic arcs
- Balancing individual voice parts within four-part harmonic texture
- Responding to responsive piano accompaniment without rushing or lagging
- Interpreting and executing dynamic contrast in fanfare-style sections